Born: 11/05/58 (Lakeland, FL) Specialties: Lead & Rhythm Guitars, Banjo
Sings: Lead and Harmonies Other: Skilled arranger and producer
Major Influences: (Banjo) Earl Scruggs, Don Reno, Doug Dillard, Ben Eldridge,(Guitar) James
Burton, Albert Lee, Jerry Reed, Ricky Skaggs, J.P. Pennington, Brent Mason
Hobbies & Interests: Music (blues to bluegrass), Genealogy, Railroading,
History
Joe has been working as a live and session
player for over 25 years. He has played on innumerable independent
productions including: masters,
demos and radio spots. His self-produced, self-titled album, "Joe
Spann and the Joe Spann Band" won national critical
acclaim as "ALBUM
OF THE MONTH" in Bluegrass Unlimited Magazine,
January of 1981.
Joe Spann was
born November 5, 1958 into a family with a rich musical heritage.
The Spann family could boast fiddlers going back to Joe's
Great, Great Grandfather Ned Spann and Great Grandfather John
E. Spann.
The Spanns were well known for playing house parties and
events around Tumbleton, Alabama. Joe's grandfather, "Stick" Spann,
played several instruments including the fiddle, banjo, mandolin
and guitar. He and his brothers had a string band near Hazelhurst,
Georgia during the 1930's and could often be heard playing
on the radio. They even made some acetate recordings. While
Joe never played any music with his grandfather, he did did
have opportunity to jam with two of his grandfather's brothers, "Judge" and
Ben Spann.
Growing up in Auburndale, Florida, Joe recalls
that there was always a guitar around the house but says he really doesn't
remember when he first began playing that instrument. His mother always said
that he would
try to play it from the time he was around three years old. At about age six
, Joe began formal training on the piano and studied that instrument for some
8 years. The big musical change came in Joe's life, when he was about 13. This
was when he saw a PBS television program that feaured the 5-string banjo and
Bluegrass music. Joe was hooked and never looked back. He took a few banjo
lessons but for the most part he began teaching himself to play from records. Joe
took part in a few short-lived local groups, but never joined
a real working band until he teamed up with Carl and Hazel Young's "Boggy
Creek Bluegrass" in 1979. The group traveled extensively around
Florida playing the bluegrass festival circuit.
After hearing him perform at the 1978 Florida
State Bluegrass Championship, Joe was approached by Len Walls, the owner and
operator of Central Sound Studio. Although Joe didn't win the contest that
year (or any other year for that matter - but that's another story), Len liked
what he heard and asked him to do some session work in the studio. Len was impressed
with the Joe's musical savy and banjo skills -- as well as his ability to do
what was needed in a given song. Soon, thanks to Len's recommendations, Joe was
in demand in recording studios across Central Florida.
In 1980, Joe realized one of his goals when he
went into the studio and recorded an album of original banjo music. The album, "Joe
Spann and the Joe Spann Band", was selected by Bluegrass Unlimited
magazine as their very first "Album of the Month," (January 1981 issue). On the
strength of that review alone, Joe sold about 500 copies. By
mid-1981, Joe was attempting to learn several other instruments
in an effort to expand his recording studio appeal. A brush with
learning the pedal steel guitar brought him to the attention
of country band leader, Carl Chambers. Chambers quickly added
him to his band "Southern
Honey" as a color player -- and as
a member of that band, Joe performed (with varied success)
on electric and acoustic guitars, mandolin, banjo, fiddle and
pedal
steel. He always claimed he needed his own roadie just to carry
around the instruments. When lead guitarist, Duke Burr, left
the band to join the Reba McIntire organization in April 1982,
Joe was asked to fill that void and although he had never played
electric lead guitar professionaly, he eagerly accepted the
challenge. It didn't take long before he was a disciplined
and proficient
lead guitarist, incorporating his banjo skills into lightening
fast riffs and finger manipulations.
With the demise of Southern Honey at the end of
1983, Joe remained with Carl and Nancy Chambers to form the "Dizzy
Rambler Band." The trio honed the skill of working with a tape track at area restaurants
until 1985 when the opportunity to work full-time at theme parks "Circus
World" and then "Boardwalk and Baseball" came about. At B&B
Joe not only worked with the Dizzy Rambler Band, but also played with other
acts at various times and places throughout the park.
After Boardwalk & Baseball closed down in January
1990, Joe spent the rest of the decade doing a variety of work including: a
ton of studio sessions, a few concerts with the Chambers' organization, a scattering
of bluegrass shows and festivals, some pick-up gigs, and working with his new
group "River
Junction".
Joe currently works as the director of the Polk
County Historical and Genealogical Library in Bartow, Florida but still finds
time to
record and produce selected projects in his home studio in Lakeland. He
is also
still involved in a variety of live musical endeavors as time permits.
Reprinted From
Bluegrass Unlimited Magazine "ALBUM OF THE MONTH" January
1981
Great
Southern Records CSS-329
Top
Hat Ramble / Choppin'/ Square
One / Horace's Tune / Fish Code / Blue
Bell / Hiebotieny / Reminiscing Rain / Help Me Make It Through the
Night / Remember Me.
Joe
Spann-Banjo; Duke Burr-guitars, vocal, harmonica; Perley Curtis-vocal,
Dobro; Donnie Helms-bass; Darryl Johnson-percussion; Denice Shumate-background
vocal.
This
is an exuberant record with absolutely nothing traditional about it.
For starters, the pivotal musician here
is bass player Donnie Helm. It may be a banjo players album, but it's
when the bass line gets going that sparks begin to fly. "Choppin," for
instance, makes
use of a really funky bass line, while "Fish Code," with some droning eastern influences, gets downright
bizarre when bassist Helms takes charge.
Overall, Spann's album combines elements
of bluegrass, country, rock, blues and jazz in his music, about two-thirds
of which is original. The arrangements, however – from the loping blues
of "Horace's Tune" to the joyous rock-out of "Blue Bell" – are 100 percent
original.
On banjo, Spann is sneaky. His banjo
leads come slinking through the layers of Dobro and guitar, and sometimes
you don't even realize it's there until it's on top of you, and in full
bloom. Spann doesn't play as much, as fast or as furious as some of
his better known contemporaries, but his economical playing is no less
effective. ...MG
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.
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